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LP White. First re-issue since 2012, as exclusive colored LP to RSD

Off hours, A new imprint series from Metro Beirut Records run by Nephews, focused on what happens when everything else fades out, the in-between hours, the last stretch, and the moments that aren’t meant to be documented.

The Berlin-Beirut duo delivers five unpolished cuts built for the dance floor, crackles running through and a raw edge with 90s energy throughout. Made to hold weight on a system, and simply dialed down to the essentials.

On the B-side, Nephews link with ICTV on B1, locking into a steady, rolling zone, while B2 brings in a collaboration with Emanuele Barilli, pushing things further out, stretching tension without losing grip.

Edition of 200 hand-numbered records, each housed in a custom Rosy womb French paper jacket with letterpress + a unique hand-cut found photo memory fragment on each cover with newsprint insert. Every copy has a different cover.

An archival release by short-lived post-punk, Brooklyn duo Möthersky. Xander Hing, with South African origins, vocals and guitar on Side A, bass + vocals on Side B. Richard Vergez, visual artist and Noir Age label owner, fuzz bass + drums on Side A and guitar + synths + drums on Side B. Played the Nothing Changes party in 2013. Shared bills with acts such as Cindytalk, Black Rain, Eric Random, Das Ding, and Drew McDowall.

Reviewed in The Wire magazine:

First single by this Brooklyn based duo named after the classic track on Can's Soundtracks LP. Their basic approach remains bottom-heavy in the vein of early Factory and 4AD units, but the guitar angles up top have gotten more slithery. Far less doom-ridden than their earlier work, this still stirs up dark waters aplenty. And it has a lovely package of which I think Peter Saville would approve."

-Byron Coley, The Wire

In the heart of a post-apocalyptic city, Spacelunch was making his way through the ruins, wearing a heavy armour of metal plates and flickering circuitry. Cat settled on his shoulder, listening intently to every sound. This time, they weren't just looking for an artefact — their target was the Singularity Echo, a mysterious device created right before the catastrophe. Legend had it that the scientists of the past, sensing the impending collapse, had put all their accumulated experience and knowledge together to create it. It was said that one day “Echo” would awaken and allow descendants to touch the wisdom of the ancients, learn the secrets of forgotten technologies and, perhaps, avoid the fatal mistakes of the past.

— We’ve been wandering around for how long? — muttered Cat, looking around warily. — And nothing.

— Sitting up there complaining, aren’t you? — Spacelunch grinned, deftly bypassing the debris and intertwined roots that poked out from under the asphalt.



Suddenly, a glow flashed before them, gradually taking the form of a palm-sized transparent crystal. It floated in the air, surrounded by silver lining that wove into intricate patterns, like a network of ancient runes. The symbols on its facets, flickering, cast soft reflections on the debris around them. As the professor slowly reached out his hand, the crystal shone brighter, and the low whisper of distant voices cut through the silence. Their minds were enveloped by the echoes of past events, filling their minds with images of the vanished world.

The friends froze for a moment, overwhelmed by shock and a sense of profound change.

— Well, — said Cat, not hiding his surprise. — It seems we've gotten a little smarter.

— A little? Now we have what has been lost for an era.

— So, we have a new adventure ahead of us. Where do we start?

The ghost town, once seemingly lifeless, now seemed to come to life: every collapsed building and every corner sparked with traces and clues as if the world itself was holding its breath, waiting for a sign.

Love International launch new vinyl-focused imprint with a 12" from Adam Curtain including a remix from Mr. Ho.

Revered party crew Love International expand their enterprise, channeling the buzz from another stellar year into a freshly minted sub-label: the 'Love International Floor Series'.

As the name suggestions, the series zeroes in on the dance floor, giving some form and shape to misty memories forged across protracted sessions at Barbarellas, The Olive Grove and The Beach in Tisno.

In to inaugurate the project is London based Adam Curtain - an artist focused on flexing the boundaries of UK club music who has been gathering steam as a nifty selector and a talented producer. A familiar face on both sides of the booth at Lion & Lamb, Fabric, Gottwood and of course - Love International - Adam nails the brief in delivering a record that is sharp, direct and eminently playable.

Musically - the tunes bridge old and new, nestling in that sweet spot between Breaks, Electro, UKG, Acid and Minimal. Stepped grooves, crisp snares, angular synths and oozey bass lines all unify to render a sound that's simultaneously psychotropic and crystal clear.

The cherry on the cake comes as a remix from the venerated Mr. Ho of Klasse Wrecks fame. Often paired with Luca Lozano, Mr. Ho is a master of organising chaos and here he does exactly that - rousing his machines and churning the original into a sludgy, fractal brain scrambler.

With their musical roots deeply immersed in the fertile soil of Afro-American music, the Buttshakers have found a new direction for their nostalgia-heavy soul music. With Lessons In Love, their third album on Underdog Records, their early heartaches and furies have faded in favor of a more composed harmony – a sound enveloped in love and soaked in the blues. Guided by their singer Ciara Thompson, the Buttshakers have taken a more intimate path, whose compass, in the chaos of emotions and the modern world, points only in one direction: the light.



Seen from the sky, the view appears limitless. Accentuated by the sun, the ochre and sandy hues of the open road only reinforce this feeling of immensity. The sky stretches and the green stands out in striking contrast. In lighter tones, a road is drawn -- without bends or contours. This is the worn and weary road of soul music, which The Buttshakers explore on each album in new and unique ways. Soul music – a rare place to find a French band.

Vast, the musical direction could have taken them to lighter pastures. Yet the Buttshakers chose to evolve in a different way; to take a heavier load. Two paths – one sparked by social unrest, the other purely sentimental, Lessons In Love explores the deep roots of soul music, in the steps of Curtis Mayfield or Al Green. It is here that the heart and mind cross paths, merge, and become one. A weary road -- that brings together the agitation of a world where good intentions never rise above the level of digital outrage, and a faith in love which, however it manifests and expresses itself, remains the only truth that never loses its power.



Less rage and more compassion, it is through the haunting words and now tempered inflection of Ciara Thompson's voice, which opens to distinct emotions and perspectives, that the listener is guided. With its gaze fixed on the horizon, the acoustic guitar of Gotta Believe invites us on an intimate stroll through the open plains, while Dream On carries us away with a clavinet riff and a possessed saxophone; reconnecting the electric heat and neurosis of a city full of dreams. The senses are moved by the conjuring potion of the guitar which distills throughout Troubled Waters; the body is brought back into a visceral dance by the keys and brass section that are put to the test by Sure As Sin and its irrepressible rhythm. Passing through clouds of dust and sand has left a bluesy imprint on their groove: the miles travelled became hundreds, then thousands.



All of this leaves the listener bewitched by the halo of resilience that now surrounds Ciara's performance, as the ten tracks let the light fade. But certainly not hope in a better day. Like the sunflower that always lifts its head towards the sun’s rays, the Buttshakers continue to resource their sounds in the deep roots of soul music. Into the rich layers of African-American music of the 60s and 70s, The Buttshakers capture the spirit as much as the musical aesthetics of the epoch. A sound that reaches into the meanderings of the soul, bringing light to dark places and hope for all. A sound for the most parched of hearts, living in a damaged world, Lessons In Love confirms that even the tiniest beam of light can illuminate one’s path.

Mellow Man’s Central Park EP is back in full effect, delivering three deep house gems packed with swing, soul, and that unmistakable underground feel.

A01 – Central Park
Deep basslines, thick chords, and that extreme swing that gets your whole body moving. Gentle pads drift through the mix like morning mist—this track rises like the sun over NYC’s green heart.

B01 – Something Divine
Upbeat and funky, with a bouncy bassline and gliding chords that melt in your mind—not in your hands. A touch of classic house, a splash of 80s soul—good to you, sweet to you.

B02 – Gotta Be Free
Bone-dry kicks and dusty NYC swing meet hypnotic deep house energy. Soulful vocal cuts and that signature CLUB U NITE grit—this one’s a stomper. Pure dopeness.

Deep isn’t just a sound—it’s a state of mind.

‘BORN LIKE THIS.’ is MF DOOM’s last solo album. Featuring Ghostface Killah, Raekwon and seminal American poet and writer Charles Bukowski with beats from J Dilla, Madlib and ol’ Metal Fingers himself. “I’ve been a fan of Bukowski for a while. It was a friend of mine – damn, I forget the n*gga name – from Life Sucks Die, it’s a graffiti magazine but it’s real kinda edgy, out of Minneapolis. They did an interview with me and then me and Andrew Broder was friends ever since then. He said, ‘Your shit reminds me of this dude Bukowski, you gotta read his stuff.’ I was a little apprehensive at first, ‘cos I was like, ‘What kinda weird shit is this?’ Then he gave me a book, The Most Beautiful Woman In Town, and after that I just got into it. “So for this album, to celebrate all us writers, emcees, if you look at it, it’s a lot of words that we say, and we all write those words: if it was written down on a piece of paper it could be a short story or like a good book. So I saw where Andrew was coming from where he sees the similarities. In tribute to Bukowski I said let me get him as a guest appear ance…” DOOM as quoted in HHC. “Whatever caused DOOM to scale back his output and go off the grid, he’s only come back from it sharper, stronger, and more powerful than before.” Pitchfork “DOOM still has the sickest vocabulary, broadest frame of reference, and densest, most quotable rhymes in hip-hop… he has created an album of sublimely half-assed super-genius.” Onion AV Club

Spiritual World's first archival 12" vinyl release from the UK’s free festival dub pioneers.

The Ullulators, an experimental dub and world music ensemble from Bath, UK, have long been associated with the UK’s free festival movement, tracing their creative lineage back to the mid-1980s. For the first time ever, two pivotal tracks from their early cassette-only discography—“Simply Conscious Dub” and “Eternal
Now”—are being issued on 12” vinyl, marking the first archival release on Spiritual World.

The A-side, “Simply Conscious Dub”, originally featured on the 1986 cassette Beyond the Gates of Ull, exemplifies the band’s signature fusion of weighty dub rhythms with expansive and euphoric electronics.
In contrast, the B-side, “Eternal Now”, drawn from the 1985 cassette Share a Calm with the Ullulators, ventures into more introspective sonic territory. Built on minimalist structures and ambient textures, it evokes the kosmische tradition and aligns with the spatial sensibilities of Manuel Göttsching’s E2-E4.

Together, these tracks not only showcase the group’s wide stylistic range but also underscore their forward-thinking approach to genre hybridity. This release stands as a unique document of a formative era in the
evolution of UK underground, dub, and ambient music.

Scannoir. After their previous releases as ½GOTT and GOTT on Uncanny Valley and some remixes, the duo returns with a third solo EP, marking their first appearance on the Berlin-Basel-based label Reach Another System. Their passion for EBM, Synth Pop, and New Beat comes to life with a fine array of classic drum machines and FM-synths, topped with Teutonic lyrics and archival samples. The A-side opens with a bang: "Magnet" critiques social expectations and pressures, backed by hard-hitting snares and tom fill-ins in Front 242 fashion. Next up, "Tschernobyl" warps the listener back to 1986 – a musical report of the Soviet nuclear disaster. Equally dystopian, the B-side hymn "Matrix Leben" depicts life inside a structured system that continually shapes and restricts us. The final track "7 Minuten" pushes the limits of restless staccato EBM madness. Mission accomplished!

A remarkable release in John Lee Hooker's vast catalogue, Folk Blues, released by the Crown label in 1962, puts together tracks originally recorded for Modern Records between 1951 and 1954.

Among its many highlights are Bad Boy, one of the finest examples of Hooker's wordless humming and singing in unison with his guitar figures, and Rock House Boogie, which offers a sampling of Hooker's use of bottleneck style.

"Essential in any collection of postwar blues." - ***** Downbeat:






f A6. I Need Love So Bad Solo Version







[n] B6. I Need Love So Bad [Group Version]






[f] A6. I Need Love So Bad [Solo Version]







[n] B6. I Need Love So Bad [Group Version]






[f] A6 | I Need Love So Bad [Solo Version]







[n] B6 | I Need Love So Bad [Group Version]

An 11-minute Gnostic rite from the outer fringe of the demiurge's data farm. Manuel Gottsching meets Megadog. A tranced-out deep cut of driving apocrypha assembled by mystic duo SB&C with B-side emanation and mutations from Ann Arbor's JTC aka Tadd Mullinix--for the initiated and confused. A limited 100 edition, hand screen printed release with no repress and no streaming. Download code included with physical record only.

When billy woods released Today, I Wrote Nothing ten years ago, it was an unexpected departure from a rapper who was just starting to make waves in the indie rap scene. After spending the earlier part of his career in the wilderness, woods had managed to crawl out of obscurity with the minor success of 2012’s History Will Absolve Me. Dour Candy, 2013’s collaboration with underground legend Blockhead drew accolades, which only increased with Armand Hammer’s debut Race Music.

Then, woods dropped out of sight for two years before returning with Today, I Wrote Nothing, a record that deviated significantly from what had come before. Where Dour Candy had been concise and focused, TIWN was a sprawling 24 tracks. Where History Will Absolve Me was anchored by hard-hitting beats, anthemic songs, and a couple high powered features, TIWN was comprised of short vignettes, quietly eclectic production, and the only guests were his Backwoodz label-mates. Only one video was released; the claustrophobic “Flatlands”, shot on a shoestring budget in a Brooklyn housing project. Reviewers didn’t know quite what to make of the record, and in many cases, neither did fans.

As is often the case for woods’ albums, many perspectives shifted as the years passed. Listeners came to see the sad, quiet beauty of Today, I Wrote Nothing; a road trip album that doubles as a meditation on life’s journeys and death’s hiding places. The album’s power is in it’s intimacy, it’s insistence on holding your hand through the darkness. Now, TIWN is considered one of the more unique and vital records in woods catalogue. The dynamic woods created with TIWN vis-a-vis History Will Absolve Me and Dour Candy is one that would come to define his ouerve; constant experimentation, a refusal to be pigeonholed, and an unwavering search for the emotional heart of his subject. For us at Backwoodz, being able to repress this album on it’s ten year anniversary is especially sweet, because we remember how long it took us to sell that original run of 500. To everyone who copped one of those and helped us keep the lights on, this is for you too, we couldn’t have gotten here otherwise.

When the people just gotta dance right now, Turbo Recordings will drop everything to fast-track the hottest, rawest music the moment the download links hit our Hotmail. Such is the case with rising Lithuanian superstar DJ JM’s moov EP, which contains five tracks so good they needed to hit today's streets today. To ensure the mind-churning efficiency and logistical brilliance needed to pull off this kind of turnaround, label life-giver Tiga slept and tried to bathe at the office for five straight days* before being hospitalized for "caring too much.”

The title says it all - A Cellarful Of Motown! ..A Northern Soul Love Affair.

West Grand has been set up to mine the deep vaults of mighty Motown courtesy of a licence deal with Universal Music.

The first West Grand LP fuses two musical religions, Motown and Northern Soul.

In some ways they are unlikely bedfellows. Motown became known as Hitsville by churning out hit after hit, while Northern Soul passion is fired by a constant search for the unknown and the obscure.
The 16 tracks here - on incredibly the first Motown various artists vinyl album released worldwide for 40 years - join the dots. All of them were recorded in the 1960s. None of them were released at the time, despite being prime examples of the sublime magic conjured up by Berry Gordy’s genius-like team of singers, writers, producers, arrangers and musicians at that tiny little snakepit of a recording studio on West Grand Boulevard in Detroit.

Motown authority Adam White’s album sleeve notes confirm just how productive that studio was. It often ran 24 hours a day, 7 days a week.
As a result, lots of the most sublime music ever made was somehow rejected for release. It would have stayed unknown and unloved in tape boxes if it had not been for detective work by Soul aficionados turned detectives. That’s Northern Soul power. Many were DJs and collectors tracking down cassette copies or acetates (some of them found in rubbish skips and about to be destroyed). Others, notably Paul Nixon, the founder of the CD series A Cellarful Of Motown! which inspired this album, badgered the Motown gatekeepers so much they were eventually granted access to the forbidden kingdom.

Over recent years all the tracks contained here have been released—some bootlegged, some on legitimate seven-inch issues, some on CD, one download-only. The album proudly boasts debut vinyl release for some in the collection. All have been remastered and have never sounded better.

As a homage to Motown music makers + Rare Soul fanaticism, WEST GRAND believe we have come up with a classic.

BOOOoo! is back with a new VA gathering Ildec, Pagenty, Phase O'Matic, Gogo Gadgeto & label-head BOOH!

The fourth installment has been carefully curated to showcase five distinct facets of the darker side of the electro scene, while maintaining a softer, more accessible edge. Each track is suitable for both daytime and nighttime play.

First-ever vinyl pressing on Smash Burger Trill Burger Picture Disc! RSD25

Get ready to savor the flavor of Southern hip-hop with the first-ever vinyl pressing of Bun B’s iconic Return of the Trill! This exclusive release comes alive on a Smash Burger trill burger picture disc vinyl, making it a deliciously unique addition to any record collection.

This innovative collaboration with Trill Burger captures the essence of Bun B’s legendary career while celebrating the culture that inspired it. The vibrant artwork features a mouthwatering design that showcases the perfect blend of music and culinary artistry, making it a must-have for fans and collectors alike.

Bun B has always been a pioneer in the rap game, and this special edition vinyl offers a fresh way to experience his storytelling and lyrical mastery.

The Situation collective headed up by Mr Mulatto and Frank Situation return with their much-anticipated new album ‘Audio Proxemics’. Across nine sumptuous tracks it explores a warm array of sounds from jazz-flecked deep house to soulful nu-disco with guests like Javonntte, Faze Action's Robin Lee and more. Situation is a collective of DJs, producers, editors, and musicians who hail from the five valleys of Stroud in the UK. Between them they have deep roots in electronic music and have been entrenched in the scene on many levels from hosting their own events, organising free parties, releasing everything from deep house to tech under several aliases and, since 2014, have established Situationism Records with cultured sounds from the likes of Ashley Beedle, Greg Wilson, Dr. Packer, and more.

This accomplished new album has been two years in the making and began with three tracks recorded by South African vocalist Venessa Jackson while she was on tour in the UK. As well as Venessa’s sweet tones, vocalists from across the globe contribute alongside some core Situation members: James Payne, Phil aka Dr Keys and Jon Gray aka BitterSuite who take care of bass, arrangement, production, and guitar.

It’s a timeless record that spans everything from jazz to funk with real musicality and standout instrumental skills lighting up each track. Underground favourite Javonntte adds deep and smoky tones to the flute laced and sunny house sounds of 'Bullit' while 'Never Taken A Weekend Off' is a lush broken beat sound with radiant synth leads and vocal hooks that echo classic Brit funk. 'Mrs Donovan' is a more club-ready sound with dazzling keys dancing over dusty house drums and 'Fairy Godmother' is a gorgeous slice of disco house with vibrant strings from Faze Action's Robin Lee and an effortlessly cool acid jazz vocal. Add in 'Over & Over', a lovely jumble of chords, organic percussion and life-affirming horns, and the hip-swinging drums and expressive interplay of sax and synth on the uplifting 'Rodborough Groove' and you have an album perfectly suited to bright days and hot summer nights.

"First Move" is the debut album from Luna Soul, founded by the German-Spanish duo Lisa Michèle Lietz and Jordi Arnau Rubio.

Lisa Michèle Lietz comes from Schwerin, learned the guitar from Ernst Ulrich Deuker, the bassist of German NDW heroes Ideal, and is a studied musicologist. Jordi Arnau Rubio was born in Barcelona. He left Spain as a teenager to work as a professional dancer throughout Europe. As a composer, Rubio draws inspiration from blues, jazz, soul and funk. They both started Luna Soul in 2019 and have since toured extensively through Germany, Spain and France. The ten songs from "First Move" carry the energy of countless live performances and were composed with sensitivity by Lietz and Rubio. Joel Sarakula, Daniel Fell and Paul Milne co-worked as songwriters on some of the songs. Sarakula also took over the production and gave the album its finishing touches.

The opener "Grow" is a heartfelt ode to resilience and self-discovery, before "No Way Home" paves the way to the dance floor with subtly interwoven funk and celebrates freedom and carefree joie de vivre. The first single "1979" gives the album a Mediterranean touch. The Spanish guitar provides an authentic and refreshing sound. With "Lights Out" and "City Lights," "First Move" delves deeper into the 1970s with a mood of nostalgia, optimism and urban promise: "The nighttime city skyline is a great metaphor for navigating through emotions when composing," Lietz and Rubio explain. "In our loneliness, we don't walk alone" it says in "City Lights": "We firmly believe that in moments of pain and coping with loss there are silent, invisible connections that carry us along, especially in challenging life situations, and provide a grounding. They provide support and hope in our increasingly digitalized world."

"Take yourself higher, you know you gotta do it" – that's the powerful message in "Hold On", the appropriate opener on the second side of the vinyl LP. With "Winterdance" and "Obvious" the album effortlessly glides through the sound aesthetics of the late Seventies and early Eighties.

"Just For Us Tonight" and "One More Night" finally sum up Lietz and Rubio's central credo: "It's about surrendering to the fascination of the moment," explain Luna Soul, "finding comfort in the midst of chaos and to celebrate those fleeting sparks of interpersonal connection that drive us and make us alive."

Man-of-the-minute Jorg Kuning returns to Facta & K-LONE’s Wisdom Teeth imprint with ‘Elvers Pass’: a new 6-track exposition of his singular sound, and his most accomplished and comprehensive work to date. By now, the Jorg Kuning trademark is well established. Cherrypicking influences from the wiggiest ends of tech house, electro and bass music, his music is instantly set apart by his totally unique sound palette.

In fact, it’s hard to think of another club artist who has emerged with such a distinct and recognisable voice in recent years. Bubbling and funky with that unmistakable dose of wonk, you can tell a Jorg Kuning tune the minute it enters the mix. Since last appearing on Wisdom Teeth with 2022’s ‘Chosta-del-sol’ EP, the Welshpool-based artist has become a cult name on the global club and festival circuit - his must-see live set turning heads wherever he pitches up. Anybody who frequents the summer circuits around Freerotation, Love International, Gottwood and Dimensions will know exactly what we’re talking about. Along the way he has picked up a number of ardent and outspoken fans, including Lukas Wigflex and Koreless - the latter of whom tapped Jorg for a stellar remix on last year’s ‘Deceltica’ EP on Young. On ‘Elvers Pass’, Jorg manages to ring an exceptionally rich diversity of life from the circuitry of his modular machines.

The record’s melodies flutter and swirl like deep-sea creatures, and his synths ooze as if dredged from some primordial swamp. More so than ever, a host of otherworldly voices have begun to creep into his music: ‘Mercedes’ centres around a fluttering chorus of disembodied vocal chops, while ‘Synthetic Squashies’ rocks back and forth on a looping dialog between two AI chatbots. Across the record, synths mimic animal vocal tones, from the belching bass licks on ‘Skudde’ to the amphibious synth groans on ‘Teen Frogue’. Playful, oddball and in a class of its own, ‘Elvers Pass’ is a welcome New Year offering for ravers and club adventurers worldwide.

Probably the most astonishing hard rock LP out of 1970s Spain, repressed by popular demand and this time offering a very limited transparent blue colour run.



THE STORM hailed from Sevilla and were acclaimed by both audience and press reviewers as one of the best rock bands from Spain. The combo was formed by the Ruiz Geniz brothers (Angel and Diego), on guitar and drums respectively, plus Luis Genil (organ) and José Torres (bass).



Their debut album, originally released on Basf in 1974, is one of the Crown jewells of Spanish hard rock, and changes hands for a small fortune among collectors all over the world, especially since its inclusion in Hans Pokora's 'Record Dreams' books.



This LP really rocks. It's high energy hard rock that follows the line marked by the big organ outfits of the era such as DEEP PURPLE, ATOMIC ROOSTER, BRAM STOKER, MEGATÓN...



It has also a deep classic prog sound root, which reaches the top on 'Un Señor Llamado Fernández De Córdoba'.



We are talking of one of the seminal Spanish hard rock LPs.

Where to begin with a figure like Simon Fisher Turner? From teenage stage and screen star to illustrious recording artist for Creation and Mute and score composer of Caravaggio, Blue and The Epic of Everest - via a stint with The The and collaborations with Derek Jarman, David Lynch and Tilda Swinton - Turner embodies a distinctly British sensibility and boundless curiosity for sound. For A Colourful Storm, discovering Deux Filles, his mysterious project with Colin Lloyd-Tucker that has since been reissued by Dark Entries, was a significant moment in shaping their identity.

In August 2023, A Colourful Storm presented Simon Fisher Turner and Time is Away at Spanners, London. Performed at the tail end of Blue Now, a series of events celebrating Derek Jarman's last feature film, Blue, the recording reveals a lifetime of significant events and influences. Terre Thaemlitz's remix of Turner's Shishapangma (Comatonse Recordings, 2015) is reworked and appears on vinyl only, Jarman is privately recorded reading White Lies, Bertrand Russell is sampled, and Turner records his brother practising the Great Rissington organ for their father's funeral.

"My wife and I lived in Brixton, near the venue, on Coldharbour Lane, 20 years ago. We were above a takeaway shop. The air extractor was a nightmare and the flat smelled of grease. The market was a great place to buy fish. We adopted a giant snail, who we called Ayrton. I used to take him all over town and he loved lettuce and tomatoes. There was a wonderful small pizza shop too, which was so delicious. But back to the music. Brixton is music and I'm a lucky man."

Last May, Hard Times captivated us with The Lost D.A.T.S (Part One)—a remarkable collection of unreleased and freshly unearthed gems from the vaults of NYC legend DJ Romain. But the story didn’t end there. To our surprise and delight, Romain had delivered an even larger treasure trove of beats—too many to reveal all at once.

Now, Hard Times is proud to present the next chapter: DJ Romain – The Lost D.A.T.S (Part Two).

"1996-97? Yeah, that’s when New York was still NEW YORK!

That was around the time we really started to get hold of exotic herbs. Copper Haze, hydroponic! The vibes in the studio were always lovely. I had hair at the time! Dread-Locs down to my shoulders... I was still rockin’ the Wallabees, or British Walkers as we called them - representing for Brooklyn and my West Indian roots!

There was no social media, no supervision, nobody all up in our business… It was classic "mind your own business" NYC Vibes! I was DJing at a lot of the hot clubs and THE hottest afterhours in the city. There were nights when I saw Micheal Douglas roll into the afters with Grace Jones - they were there to party and unwind and I was there dropping the dope tracks for the people.

When it was studio time, with my homie Matt Echols...I was probably setting things off with some quality herbage, a big ass bag of Funyuns and my trusty SP-1200, lol. I had picked up some tips and tricks from Todd Terry and by '96-'97 I was a Shaolin with it myself! This was around the time tracks like "Flowers" and "Only Love Can Break Your Heart (Dub)" were tearing up the clubs. I wanted to be able to get my ideas out with no problem, and by then I had a lot of confidence...

Being able to Dj in some of the hottest NY hot spots at the time, I was able to really see what worked and what didn't on the dancefloor. The best House Dancers from around the world and around the Tri-State area would be at my jams. I'm talking Ejoe, Voodoo Ray, maybe kids from the Mop-Top Crew... I was definitely taking note of the kind of rhythms and sounds that would make them go crazy on the dancefloor!

And that's how we went about it - I laid down the rhythms that made it happen in my sets and translated the vibes I was picking up from NYC itself. Matt threw down musically and we were just being as creative and inventive as possible! But we always kept in mind that our job was to make the people on the dancefloor jump!

A lot of the jams from those days got signed to various record labels, we dropped a lot of them on our own label...and some of them ended up in the archives - until now!"

Glad to present you this hard industrial techno vinyl called PARANOID, with a fast (160 to 170bpm approx.), hard, raw and industrial techno, with talented artists from the Netherlands, Germany and Russia.

Velvet – einer der legendärsten Trance Klassiker aus 1999, der in 2023 von Talla 2XLC und DJ Tandu aka Ingo Kunzi neu aufgelegt wurde, gibt es jetzt als farbige 12“ Maxi Vinyl. Auf Seite A liefert Talla 2XLC eine hochenergetische, turboaufgeladene, psychedelische Version, die den göttlichen Melodien des Originals treu bleibt. Seite B präsentiert den DJ Tandu Extended Mix. Balearischer Trance vom Feinsten mit Tribal Drums, groovigen Basslines, verspielten Kicks und schönen Arrangements. Diese limitierte farbige Vinyl-Edition ist ein echtes Highlight und Sammlerstück.

Originally scheduled for release way back in March 1996, "The Raw Factor" by North Carolina native Omniscence is one of the last of the unreleased mid-90's albums to see the light of day. Despite being awarded The Source's coveted "Hip Hop Quotable" and dropping two well-received singles ("Amazin" and "Touch Y'all"), record label politics meant the full-length "The Raw Factor" album was never released and fans were left wondering what might have been.

28 years later, "The Raw Factor" is finally being released on vinyl, CD and digital stores. Featuring punchline-driven lyrics from Omniscence delivered in his unmistakable cadence, and backed by head-nodding production from Fanatic, the album is a must-own for fans of 90's Hip Hop.

Omniscence haunted the same early 90's cyphers and stages that many lyrical greats from the era had to cross. With a gruff delivery and equal adeptness with punchlines and metaphors, his high finish at the 1994 edition Battle For World Supremacy at the New Music Seminar assured heads across the culture were watching. After this, Omniscence locked in with producer Fanatic (who also laced tracks for Notorious B.I.G., Ma$e and Michael Jackson). The result was "The Raw Factor" album, fifteen plus tracks of jazzed out boom-bap, replete with crackin' drums.

Now Below System Records has not only given the album its first deluxe physical release (including 2xLP, CD and digital) as well as a slew of bonus/unreleased tracks.
















p Touch Y'all (Remix) feat. Sadat X
















p Touch Y'all (Remix) feat. Sadat X
















p Touch Y'all (Remix) [feat. Sadat X]

‘I Gotta Limit’ was the first new music shared from Matt Berry’s forthcoming album “Heard Noises”.

The track sees Matt trading lines with Kitty Liv, over a Sly Stone-inspired arrangement that is part Northern Soul, part Psych.

With an immediate incredible response for the track among fans - long ahead of the album release in January 2025 - Acid Jazz has decided to make the single available as a limited edition, picture sleeve 7”.

It is backed by a previously-unreleased remix of ’Summer Sun’ by Bond composer David Arnold.

There is the new release by acid jazz superstar rad. available, for which I’m happy to provide, attached the tools. The recordings feature no less than Tower Of Power Horns, David Garibaldi, Roger Troutman, Ray Obiedo, Bobby Vega and Michael Spiro…

vIt was the San Francisco Bay Area where Herbie Hancock founded his Headhunters. It was the San Francisco Bay Area where Prince recruited Sheila E., Rosie Gaines and Larry Graham.

Bands and artists such as Tower Of Power, Sly & The Family Stone, Meshell Ndegeocello and Santana came from the San Francisco Bay Area, and Rose Ann Dimalanta, or rad.for short,

also originated from the San Francisco Bay Area. A Heavy Dose Of Oakland Funk – rad. did what she promised. Her 2nd album “gotta be" (1994) had all the ingredients that made the funk heartbeat

faster and the legs fidget: razor-sharp breaks, excellent hooklines, staccato clavinet and organ licks, driving bass lines, forward oriented drum grooves and a voice tofall in love with.

For these remastered two songs, she back then recruited her colleagues from the Syncopated Funk Champions League. Guitarist Ray Obiedo played in Herbie Hancock's band and

with George Duke during the "Thrust" era. The percussionistMichael Spiro worked for Ella Fitzgerald, Bobby McFerrin and Carlos Santana, Bobby Vega played the base for BoDiddley, Booker T,

Santana, Tower of Power, Etta James, Sly Stone and Jefferson Starship to name a few. Beside thefuzz guitar solo of mega funk star Roger Troutman on Come My Way, it is David Garibaldi and the

Tower of Power Horns who add the undeniable quality of this two funk classics now pressed on 7“ vinyl for the first time ever…

Occasionally an album comes along that seems to capture the mood of the time. "The K&D Sessions" was one. In the late 1990s no afterparty, smoking session or languid Sunday afternoon was complete without Kruder & Dorfmeister blasting from the Bang & Olufsen. Now approaching it"s 25th anniversary the lore around this iconic release, steeped in a silvery cloud of smoke, retains a star quality which only shines brighter as time hurtles on. With the original having sold well over a million copies by this point in time, it"s hard to imagine a mix or remix compilation being able to inform a movement like "The K&D Sessions" has. To celebrate this monumental milestone, we"ve created a limited boxset in 6LP and 3CD of "The K&D Sessions", mastered and cut by LA luminary Bernie Grundman for a luxurious listening experience, with newly designed inner sleeves using unseen photos from the original photo shoot. Inserted in the box is a forty-page booklet containing multitudes more never before seen photos from the same shoot and notes which recount humorous tales surrounding the duo and the people who spent time with them in this epoch. Included on the 6th LP is their legendary 11 minute shimmering remix of Madonna"s "Nothing Really Matters". The 6th LP also contains Peter Kruder"s Powercut Mix of Roni Size"s "Heroes" and K&D"s remix of U.F.O, "L.O.V.E.". In addition there are two cerebral alternate remixes of Lewis Taylor, one being completely dubbed and the other the using the vocal line for this beautiful gem, "Lucky" and a special remix of "Speechless" by Count Basic. These have been staples in K&D"s sets and now take their rightful place collected in the canon of "The Sessions".

Music From Memory is thrilled to introduce Dead Sound, the collaborative project of Marco Sterk (aka Young Marco) and Berlin-based pop-auteur John Moods. Both artists are no strangers to the label; Sterk forms one third of the trio Gaussian Curve, while Moods released the 2022 album ‘Hidden Gem’ with The Zenmenn.

Their collaboration was both planned and spontaneous; Sterk initially reached out in 2022 expressing his desire to work with Moods. The pair finally got together in 2024 to produce ‘Into The Void’, an album that burst into life over the course of a few creatively charged days in each other’s company.

Moods’ dream-like, emotionally charged music wears its heart on its sleeve; its very human vulnerability makes it a perfect match for Sterk’s strong sense of melody and textural sonic visions.

‘Into The Void’ carries these psychedelic traits in its DNA, but they exist layered deep amongst the shadows. Painting on a wide canvas that effortlessly skips between genres, the pair weave anything that inspires them into a truly unique tapestry; a bold attempt to touch at the beyond.

Exploring the space between perception (level of the mind) and the nature of the universe (actual level of reality) seems traditionally like an impossible task. But there’s gotta be a time and a space for the profound and this album invites the listener to go deep, letting go of concepts such as love and opening oneself up to one’s own authentic journey. This transformative force of healing is a central theme of ‘Into The Void’, a path that is lined with light and darkness in equal measure. But, as Moods says, “do not skip the darkness, let that door open and swallow you. And maybe you’ll find, it's not as dark as you perceived at first."

Sleeve art by Michael Willis.

TrioRox is a project born from the meeting of three protagonists of the Italian music scene (and not only): pianist Giovanni Guidi, bassist Joe
Rehmer and electronic musician DJ Rocca (Luca Roccatagliati). Three characters who boast an eclectic and consistent curriculum. Guidi, enfant prodige of Jazz piano, has published several albums for the prestigious ECM label, and has collaborated with the best jazz and electronic musicians, from Enrico Rava to Matthew Herbert, from Joe Lovano to Ricardo Villalobos. Joe Rehmer, an American transplanted to Italy, is one of the most sought-after bass players, sharing stages and recording studios together with authorities such as Bob Mintzer, James Moody and Danny Gottlieb.

DJ Rocca is a DJ and musician active since the nineties, and boasts numerous albums, singles and remixes with, and for key protagonists of the alternative dance scene (Andrew Weatherall, Dimitri From Paris and Howie B), as well as a militancy in the jazz scene with several albums together with Franco D’Andrea.

The music that the trio proposes is a mix of electronic, dance, Jazz and pop, with groove impulses in the field of house and techno music, without neglecting mixes between electro, classical and minimalism. A melting pot of styles between Keith Jarrett and Carl Craig.

Album to be released by IRMA Records in October 2024, with guests Luigi Di Nunzio, Gianluca Petrella, Dan Kinzelman and Jacopo Fagioli.
“Moods” is the debut album of Triorox that represents the photograph of the ‘Here and Now’. All the music was born from a studio session that lasted a few days, in which the mood of the three musicians gave the album its sound imprint. What came out of it became incandescent material to elaborate the musical flow of the entire work, which had three different phases.

The first, in which the tracks were born from the recordings, some developed as creations with a common denominator (the three moments of Mood), some as thematic suggestions (Angels, Corea and Next To Canada), and others as a stylistic challenge (the techno of Space Rain, or the drum and bass of Sax & The City).

The second phase, where the compositions were subjected to the test of live concerts, in which it was understood how the tracks could be better arranged, optimizing them and keeping the best ones. The last phase was the choice and insertion of the guests, reasoning according to the type of suggestion that we wanted to give to the specific song. So we gave free rein to Luigi Di Nunzio, who also participated in phase two, playing with us on stage on some occasions. In the same way, Gianluca Petrella chose the piece where he felt most at ease, also contributing to the arrangement.

Dan Kinzelman, a historic collaborator of both Guidi and Rehmer, was included because we wanted his bass clarinet in a specific suggestive situation. Finally, we wanted Jacopo Fagioli (the Tuscan reincarnation of Don Cherry), we wanted him in a specific episode of Mood, for his particular style, impeccable in determining the mood that the piece needed.

Liquid Liquid loom large for many - their classic run of EPs on 99 Records has gotten a second, third, and fourth life thanks to devout fans like the Beastie Boys, LCD Soundsystem's James Murphy, and Domino's Laurence Bell. (This to say nothing of the fact that one of rap's all time classics - Melle Mel's "White Lines" - is based around their song "Cavern.) This new double a-side single from Murphy's own DFA features a torrential version of "Bellhead" he co-produced in 2004 alongside a completely new version of the Liquids classic "Optimo" by Glaswegian party crew Optimo (Espacio).

Back to the beginning. For their tenth release, the Hanover-based label Malonian has signed none other than Andrei Ciubuc. He delievered also the first catalog-no, which was released in 2015.

The 4 tracks on the record are all dancefloor-oriented and deliver an avantgarde mix of house and minimal.

You may have already heard one of the tracks, the release is on heavy rotation in the sets of Ricardo Villalobos, Zip, Margaret Dygas, Sonja Moonear, Raresh, Rhadoo, Petre Inspirescu a:rpia:r Dan Andrei, Pralsea, Fumiya Tanaka, Barac, Fabe & Suciu.

SSW Mayu, a multi-talented singer who has appeared in musicals and TV dramas, covers the classic songs of yesteryear as a single cut from a compilation album by Cafe Music!

Deejay use only!
White label TCR is back with three club-ready synth-pop edits.
Party people, we gotta keep this thing going...

Dark Entries again shines a spotlight on bathhouse disco don Patrick Cowley with a newly remastered release of Kickin’ In. Although Cowley tragically passed from AIDS-related illness in 1982, he left an extensive archive of unreleased tapes, many of which Dark Entries has had the honor of releasing. While working as a lighting technician at The City, SF’s disco cabaret, Cowley saw rising star Frank Loverde perform. Cowley asked Loverde to contribute vocals to some material in progress, and Frank, Linda Imperial, and Peggy Gibbons joined Cowley in the studio. The resulting songs included “Kickin’ In,” a 9-minute cybernetic disco stormer that taps into the essence of Cowley’s hi-NRG sound: equal parts spaced out and zoned in on the dancefloor. In May 1978 Cowley joined Loverde on stage at The City to perform “Kickin’ In” as they opened for disco diva Sylvester.

“Kickin’ In” was initially released in 2015 via Honey Soundsystem who found the tapes in the basement of Megatone Records owner John Hedges. This newly remastered version was made possible due to the discovery of the original multi-track recordings of "Kickin’ In," allowing for a fresh mixdown by Jim Hopkins as well as the creation of a new instrumental version. Also included are two impeccably sleazy Cowley jams recorded in 1980, “Thief of Love” and “Make It Come Loose.” Cowley narrates excerpts from his erotic journals on these raunchy slow-burners, capturing the vibe of SF’s leather bars and backrooms. “Thief of Love” features frequent Cowley collaborator Paul Parker on background vocals. This reissue of Kickin’ In includes features an illustration by Gwenaël Rattke that originally appeared Cowley’s erotic journal, Mechanical Fantasy Box, as well as a postcard with lyrics. “Patrick parted the veil and entered a dark world of forbidden vices, wondrous musical panoramas and bold, strident, hopeful possibilities. Patrick brought the future to us and laid it at our feet.” – David Diebold, Tribal Rites

2024 Repress

After 7 years and countless requests, Sneaker Social Club finally deliver a repress of Dream Cycle - Part One.

After a chance meeting at Gottwood in 2016 a bond was established between Dream Cycle (Robin Clarke) and label owner Jamie Russell over a shared love of 2 Bad Mice and Moving Shadow. It wasn't long before Clarke began channeling elements of that influence to produce his Dream Cycle Part.1 EP. Unfolding over 4 steppy tracks and an ambient closer, Clarke melds sharp snares, summery motifs, dense atmospheres and thick subs whilst keeping things suffused with a distinctly UK quality that marries his work perfectly with the Sneaker catalogue.

DJ Support: Ryan Elliott, DJ Die, The Blessed Madonna, Octo Octa, Bwana, Altered Natives, Noodles (Groove Chronicles), Liem (Lehult), Deejay Astral, LA4A, 2 Bad Mice, Fred P, Matt Karmil, Flori, Marco Zenker, J.Rocc (lol at comment!), Ajukaja, Gnork, William Djoko, Till Von Sein, Fold, ASOK, Gene Farris, DJ bwin, Seven Davis Jr, TRP, DJ Octopus, DJ Normal 4, Gerd, Dean Man s Chest, Poté, Doc Scott, Violet, James Welsh (Kamera), Konx-om-Pax, Etch, Raresh, Hrdvsion, Michael Serafini (Gramaphone), Frazer Ray, DJ Guy, Mak & Pasteman, Shenoda, Urulu, Mark Archer & James Zabiela, Zinc, Lehult, Jackie House, Mosca, Noodles (Groove Chronicles) & DJ Die.